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Details about  7 Soviet Russian Poster "Military Valour Badges/ Medal"

7 Soviet Russian Poster "Military Valour Badges/ Medal"

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7pc. posters' set "Badges of Military Valour" Publ. in 1975. Vintage Soviet posters
  • Title: "Badges of Military Valor (valour)"- Set of 7 Posters (Complite Set)

    («Знаки Воинской Доблести»- Комплект Плакатов- 7 листов (постер/ плакат))

  • Language: Russian (Русский)

  • Publisher: "Tsentralnii Dom Sovetsoi Armii" (Издательство "Центральный Дом Советской Армии")

  • Place of Publication: Moscow/ USSR (Москва/ СССР)

  • Year of Publication: 1975

  • Copies: Limited Edition

  • Sizes (approx.): 30 x 40 cm (11.81 x 15.75 inches)

  • Condition: Good/ Great (a few minor stains/ tears)

Description

This is a rare, vintage Soviet (USSR) "Badges of Military Valour" set or 7 (Full Set) posters. Comes with folder-cover.

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ADDITIONAL INFO

SOVIET POSTERS

Soviet posters first appeared during the Proletarian Revolution in Russia - they delivered Communist Party's slogans to the masses and called on workers and peasants to fight for freedom and justice.

Most of us are familiar with Dmitry Moor's famous poster "Have You Enlisted In the Army?" The image of a Red Army soldier with plumes of black smoke rising from the factory smokestacks in the background, bluntly questioning the Russian worker about his contribution to the defense of the October Revolution, became the iconic piece of Soviet propaganda. Posters took on a very important role during the October Revolution and subsequent Civil War. Very few newspapers were published in those days and often a poster replaced the tabloid. Poster art was widely accessible to the masses, the images it depicted were easily understood by everyone, and a short and energetic accompanying slogan stuck in the viewers mind, as a constant call for action. In time of Civil War, propaganda posters were sent to the front lines in the same capacity as bullets and artillery shells. They were posted on walls, in cities which were under assault by the White Guard armies and foreign interventionists. The bottom of the vivid, bright-colored poster usually contained a warning: "Anyone who tears down or covers up this poster – is committing a counter-revolutionary act". The poster was a powerful weapon, and just like any weapon, it had to be guarded with utmost care.

The most outstanding among the first revolutionary posters are the works of D.S. Moor, V.V. Mayakovsky , M.M. Cheremnykh and V.N. Deni. Each of these artists used unique methods and techniques in order to create emphatic art with powerful propaganda messages.

During the Civil War, "ROSTA Windows" ("Okna ROSTA") – a famous project by the Russian Telegraph Agency, brought together artists who turned telegrams from Red Army soldiers into posters within hours of receiving them from the front lines. Renowned poet, Vladimir Mayakovsky, became the soul of this undertaking. He produced texts based on the most recent telegrams and accompanied them with sketches. Mikhail Cheremnykh was also actively engaged in the project. Soviet artists frantically produced dozens of posters overnight, and every morning "Okna ROSTA" were posted in the empty storefronts and windows (hence the project’s name), informing the citizens of the latest news in vivid and sharp-witted form.

Victor Deni, a superb master of political caricature of his day, introduced smashing satire to the Soviet propaganda art. His posters mercilessly ridiculed capitalists, corrupt politicians and spineless yes-man.

When the "great edifice of Socialism" was being erected through the first series of Five-Year Plans, propaganda posters could be found everywhere in the USSR – they were posted on construction sites, collective farm fields, grain elevator towers and massive concrete walls of the DneproGas dam. A look back at the posters from that era creates a chronicled timeline of Soviet Union’s creation and evolution. Each and every major event in the life of the Soviet people is reflected in the legacy of socialist agitprop.

Just within days of the beginning of WWII, Irakli Toidze created another legendary Soviet poster, "Motherland Is Calling!" Catastrophic situation faced by the USSR during the first period of the war is well illustrated by the image of a bloody Nazi bayonet, pointed at a mother with a child in her arms standing among flames of fire in Victor Koretsky’s poster "Red Army Soldier, Save Us!" Alexei Kokorekin’s poster "For Motherland!", picturing a fatally wounded sailor throwing an anti-tank grenade in the midst of his enemies, was another powerful artwork that stirred up patriotic passions among the Soviet people. After the Red Army stopped and eventually pushed back the Germans, Victor Ivanov in his poster "We are Drinking the Water From Our Native Dnieper, Soon We Will Drink From Prut, Neman and Bug" created an image of a heroic soldier-liberator quenching his thirst by scooping up the symbolically sacred river water with a helmet. Alongside the Soviet Army, which continued to break the chains of Nazi occupation over Europe, Dementy Shmarinov’s poster "Red Army Brings Liberation" entered Polish, Czech, Hungarian and Romanian cities. At the end of WWII, Leonid Golovanov commemorated the victory by drawing a poster of a triumphant Soviet soldier in Berlin, placing an inscription "We Made It!" on the walls of Reichstag.

Over the period of WWII artists created thousands of posters, millions of which were reproduced and launched into circulation. Just like during the Civil War "Okna ROSTA" (renamed "Okna TASS" after the Telegraph Agency of the Soviet Union") played a very important role in motivating the nation.

The distinctive style of the Soviet poster art was coined during times of war and struggle. It was always laconic, expressive and straight-forward. Even from faraway it was recognized by a person walking at a fast pace. The poster usually featured one or two figures whose actions were underlined by a characteristic movement. Clear contrast of the central figures (group) compared with the rest of the objects in the composition distinguished the best works. Eventually the artists started paying more attention to the human nature, and learned how to convey personality and emotions through facial expressions of their characters - thus making the posters more vigorous and effective.

With the end of WWII, world peace and friendship among nations became the main theme of the propaganda poster. Young artists like N. Treschenko, O. Savostyuk and B. Uspensky, along with such distinguished masters of the poster art as Victor Govorkov, generated interesting and witty compositions agitating for USSR as the force of peace in the world.

In the post-war period, the Soviet movie industry achieved considerable success. Famous movie-poster artists, such as V. Kononov, M. Heifitz, B. Zelensky and I. Hazanovsky refused to simply "announce" the movie releases in their work. Instead they explored artistic expression in order to reveal the film's content and essence through printed images. Works of these artists won numerous awards at international competitions.

The grandiose 7-year program for the development of USSR’s national economy, declared at the 21st Communist Party Congress, required renewed efforts from the propaganda establishment and especially the poster artists. Once again, colorful and visually engaging posters motivated the enthusiasm of working masses to carry out the Party’s plan in the newly established agricultural communities and on sites of glorified construction projects.

Soviet posters have always kept pace with the times. They created images of role models for generations of Soviet workers and soldiers, exposed international warmongers and fought for world peace.

(sovietposters.com)

Agitprop

Agitprop is a portmanteau of agitation and propaganda. The term originated in Bolshevist Russia (the future Soviet Union), where the term was a shortened form of отдел агитации и пропаганды (otdel agitatsii i propagandy), i.e., Department for Agitation and Propaganda, which was part of the Central and regional committees of the Communist Party of the Soviet Union. The department was later renamed Ideological Department.

The term propaganda in the Russian language did not bear any negative connotation at the time. It simply meant "dissemination of ideas". In the case of agitprop, the ideas to be disseminated were those of communism, including explanations of the policy of the Communist Party and the Soviet state. In other contexts, propaganda could mean dissemination of any kind of beneficial knowledge, e.g., of new methods in agriculture. Agitation meant urging people to do what Soviet leaders expected them to do; again, at various levels. In other words, propaganda was supposed to act on the mind, while agitation acted on emotions, although both usually went together, thus giving rise to the cliché "propaganda and agitation".

The term agitprop gave rise to agitprop theatre, a highly-politicized leftist theatre originated in Europe of 1920s-1930s and spread to America as well, with plays of Bertolt Brecht being a notable example. Gradually the term agitprop came to describe any kind of leftist politicized art.

In the Western world, agitprop has a negative connotation. In the United Kingdom during the 1980s, for example, socialist elements of the political scene were often accused of using agitprop to convey an extreme left-wing message via television programmes or theatre.

After the Bolshevik Revolution, an agitprop train toured the country, with artists and actors performing simple plays and broadcasting propaganda. It had a printing press onboard the train to allow posters to be reproduced and thrown out of the windows if it passed through villages.

Communist propaganda

Communist propaganda is propaganda aimed to advance the ideology of communism, communist worldview and interests of the communist movement.

A communist theoretician Nikolai Bukharin in his The ABC of Communism wrote: "The State propaganda of communism becomes in the long run a means for the eradication of the last traces of bourgeois propaganda dating from the old régime; and it is a powerful instrument for the creation of a new ideology, of new modes of thought, of a new outlook on the world".

Propaganda in the Soviet Union

The communist propaganda in the Soviet Union was extensively based on the Marxism-Leninism ideology to promote the Communist Party line. In societies with pervasive censorship, the propaganda was omnipresent and very efficient. It penetrated even social and natural sciences giving rise to various pseudo-scientific theories like Lysenkoism, whereas fields of real knowledge, as genetics, cybernetics, and comparative linguistics were condemned and forbidden as "bourgeois pseudoscience". With "truths repressed, falsehoods in every field were incessantly rubbed in in print, at endless meetings, in school, in mass demonstrations, on the radio" .

Main Soviet censorship body, Glavlit employed seventy thousand full-time staff not only to eliminate any undesirable printed materials, but also "to ensure that the correct ideological spin was put on every published item". Telling anything against the "Party line" was punished by imprisonment. "Today a man only talks freely to his wife - at night, with the blankets pulled over his head", said writer Isaac Babel privately to a trusted friend

According to Robert Conquest, "All in all, unprecedented terror must seem necessary to ideologically motivated attempts to transform society massively and speedily, against its natural possibilities. The accompanying falsifications took place, and on a barely credible scale, in every sphere. Real facts, real statistics, disappeared into the realm of fantasy. History, including the History of the Communist Party, or rather especially the history of the Communist Party, was rewritten. Unpersons disappeared from the official record. A new past, as well as new present, was imposed on the captive minds of the Soviet population, as was, of course, admitted when truth emerged in the late 1980s".

Socrealizm

Socialist realism is a style of realistic art which developed under Socialism in the Soviet Union and became a dominant style in other communist countries. Socialist realism is teleologically-oriented style which has as its purpose the furtherance of the goals of socialism and communism. Although related, it should not be confused with Social realism a type of art that realistically depicts subjects of social concern. Unlike Social realism, Socialist realism often glorifies the roles of the poor. Indeed, as the critic Andrew Graham-Dixon put it: " What it never showed, was social reality."

Avant-garde

Avant-garde means "advance guard" or "vanguard". The adjective form is used in English, to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.

Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.

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